The Station Agent
(2003)

[IMDB Link]

Independent cinema has so much to offer that corporate films lack. This is a very cute film with oddball Americanna characters in a rural setting. There is a blend of lightness and tragedy as the characters get to know each other, eventually revealing their demons to each other in an exchange of desperate trust. There is also a strong sense of human family which is reinforced throughout the film. I think that unless you're in the mood for a Kung Fu movie or a Hollywood Action™ film you'll enjoy 'The Station Agent'. And if you like stories that feature lots of trains and train-related themes you will be delighted by this film, and it might even help heal some of the mental wounds left on us all by 'Trainspotting'.

Bubba Ho-Tep
(2003)

[IMDB Link]

This is the essence of what the genius B movie has become. In the tradition of Roger Corman and Ed Wood, this film doesn't let its crappy production value or absurd premise get in the way of exploring deeply profound themes within the story. Fans of Bruce Campbell (best known for his role as Ash in 'Evil Dead' and 'Evil Dead II') will love him in this. He plays a 70+ year old Elvis Presley who has retired to an East Texas convalescent home having switched identities years earlier with an Elvis impersonator who died before they could switch back. He meets up with a man (Ozzie Davis) who is convinced that he is an aged JFK despite the fact that he is black. Together they discover and do battle with....now see if you can follow me here....the evil reincarnated zombified mummy of an Egyptian pharoh who is sucking the souls out of the residents of the convalescent home. I'm not sure if I can say much else about 'Bubba-Ho-Tep'. Yes, I think that's about it.

Lolita
(1962)

[IMDB Link]

Between this film and Stanley Kubrick's previous film 'Spartacus' we get an indication of where the young director is wanting to take his career. That is: films that generally shock and scandalize by pushing boudaries and buttons while still meeting the very highest standards of cinematic and creative achivement. He became known as a director who embraced depictions of extreme violence....'Spartacus' contained material that was unusually brutal and gruesome for 1960 and clearly paved the way for his ultra-violent cinematic rendition of 'A Clockwork Orange' released 11 years later. But 'Lolita' shows that he doesn't want to always resort to violence to shock his audience. As in his final masterpiece 'Eyes Wide Shut', this film seems to dare the audience to reject it based on its characters' violation of societal standards, while still mesmerizing the viewer with striking photography and shot construction. In films like 'Full Metal Jacket' and 'The Shining' he combines violence with more subtley challenging themes to achieve his goal. For those of you who don't know the basic premise of 'Lolita', it is about the forbidden love of a middle-aged man for a teenage girl who's name is Lolita. What makes the story so scandalous is that it treats Prof. Humbert (the middle-aged man) as a mainly sympathetic character who's demons come from the judgement of society, not his own innapropriately placed affections. Many people who are fans of the book by Vladamir Nabakov think this film lacked the intensity of the character portrayal in the book, and that may be so. But the film manages to capture a subtle tension that is quite unique and well ahead of its time. Fans of Peter Sellers will notice the precursor to his multi-role performance in Kubrick's next film 'Dr. Strangelove'.

Niagara
(1953)

[IMDB Link]

In some ways this is a trashy Noir throw-away, but it is always amazing to watch Marilyn Monroe in action. I love the way she sex-bombs the set in every single scene she's in. A size-12 girl like her wouldn't have much of a chance in Hollywood today, and that's really a shame. And I must say that Jean Peters, who was cast as the demure and bookish counterpoint to Ms. Monroe, managed to evoke a kind of sexy-librarian thing that also worked quite well. The film is full of fantastic footage from around the Niagara Falls area, including the tunnels and stairs, Maid-of-the-Mist, and some beautiful shots of the falls themselves from many different angles. I would recommend this film only to those who really like old-fashioned style movies.

20,000 Leagues Under the Sea
(1954)

[IMDB Link]

Woo hoo! This film is every bit as good as I remember it from when I was a kid seeing it in a double feature with 'Pete's Dragon'. It is an adaptation of Jules Verne's sci-fi classic, and it stars a very frisky Kirk Douglass (who also SINGS!) and the dour James Mason as Captain Nemo. I would go so far as to say that this film was the greatest achievement in cinematic special effects up to the time of its production (1954) and was not eclipsed in that catagory until 1969's '2001: A Space Odessey'. As I was watching I was wanting to go on eBay and find a toy model Nautalus (Nemo's super-cool submarine) and as I thought of this it occurred to me how long Disney has been the reigning champ of film merchandising. Upon reflection I feel like their success has its origins not in the skill of the merchandisers, but in the spectacular creative properties of the films themselves. All of the marketing in the world couldn't make me want a toy Nautalus....it's the excellence of the film and the depiction of how cool it is that makes me want it. Like Sully from 'Monsters, Inc.'....I don't want the stuffed figure because it's cute, but because the character in the film is so likable. Anyway, I am not sure who wouldn't like this film except perhaps people that I don't want to know or talk to.

Rashômon
(1950)

[IMDB Link]

Another piece of archtypal cinema from the amazing Akira Kurosawa. This film uses the now-classic technique of telling the same story multiple times from the perspective of different witnesses. In doing so it points out the subjective nature of storytelling and the affected properties of memory. Some of the photography is so modern that you can't tell this was being filmed barely 4 years into Japan's post-war reconstruction, but that is not surprising considering who is behind the camera. 'Rashomon' is probably not as universally likable as 'Yojimbo' or 'Seven Samurai', but for fans of Kurosawa and students of film history this is an absolute must-see.

Starsky & Hutch
(2004)

[IMDB Link]

How cool is Snoop Dogg? About as cool as humanly possible. And in some ways Huggy Bear is the best film character he could ever play; a stylish and good-hearted king of the urban underworld....outside of the law but with a code of honor that makes him a model of macho morality. In the original TV series Antonio Vargas depicted Huggy as kind of a 2-bit hood, while Snoop's version is more of a godfather type in keeping with his own personal mythology that he unavoidably brings to the performance. NB: The DVD extra 'Fashion Fizizzle with Huggy Bizzle' is friggin' incredible. As for the rest of the film, Owen Wilson and Ben Stiller are great as always, and they bring their signiture chemistry to the portrayal of these famous TV characters. Overall not the best film of theirs, but quite good nontheless.

Real Women Have Curves
(2002)

[IMDB Link]

This is a great indie film from Los Angeles (NOT Hollywood!) about a young Meximerican woman who is finding her way out of her traditional family background to become a modern 'enlightened' American woman. There were many facets to the story, including self-image issues imposed on her by her mother and the inter-cultural disparities among Los Angeleans that in some ways reflects all of the US. The realistic depiction of a small South-Central sweatshop was enlightening for those of us who don't live in that world, and the many 'invisible' class disparities that privelidged folks usually don't notice are brought to the forefront of the story. There is a great scene involving a group of heavy-set women stripping down to their underwear to aleviate the stifling heat of their working environment. This becomes a scene of liberation and self-appreciation that is very inspiring and fun. The main character Ana is played by a young actress named America Ferrera who I hope to see again in other films. She does a remarkable job in this.

Nine Queens
(2000)

[IMDB Link]

The Rutles
(1978)

[IMDB Link]

If you still haven't seen this Eric Idle (of Monty Python fame) comedic mockery of the Beatles you absolutely must do. This is the very first feature 'mockumentary' film, a genre generally associated with the beloved 'This is Spinal Tap' and subsequently embellished by the likes of 'Best in Show', 'Waiting for Guffman', 'A Mighty Wind', 'Hard Core Logo' and others. Woody Allen's little known but amazing 'Zelig' also fits in this genre and preceded the release of 'Spinal Tap' by just one year. The 'false documentary' format had been used before 'The Rutles', just not in a feature film. The earliest notable example in cinematic form was a short film entitled 'Swiss Spaghetti Harvest' that was shown as an April Fool's joke on the British television news program 'Panorama' in 1957. However, clearly the very first use of this technique was the infamous 1938 Orson Welles radio broadcast of an adapted version of the classic sci-fi novel 'The War of the Worlds' that was written and performed so it would sound like a news broadcast about an invasion from Mars. As you might have heard, that one caused quite a stir. At any rate, The Rutles' is friggin' hilarious.... especially if you're a Beatles fan.

The Way of the Gun
(2000)

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Zoolander
(2001)

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Another surprise for those of us who thought Woody Allen had made his last good films in the 80's. I was reminded of 'Broadway Danny Rose' (IMO Mr. Allen's greatest film) in that the main character (played by Sean Penn) is called to a career that is a mixed blessing for him. Like Danny Rose, Emmet Ray is a bit of a rogue with character traits that would normally be quite annoying or even detestable. However, through a combination of story arc and performance he becomes entirely (or at least mostly) sympathetic. As with any period film made by Mr. Allen the sets and costumes are impeccable.Uma Thurman turns in a fantastic and authentic performance as an incidental character, and the rest of the cast delivers as well. I loved this film and I think you might too.

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This film is based on real events that were chronicled in a book of the same name written by Joe Simpson, who survived one of the most harrowing ordeals I have ever heard tale of. The construction of this film is also very interesting and somewhat unique in that they re-enacted all of the 'action' over contemporary interviews with the 3 men who were actually there, including the author of the book. This is a technique that most Americans are familiar with by way of such television programs as 'Unsolved Mysteries' or 'America's Most Wanted' and is usually kind of cheezy and low-budget. 'Touching the Void' manages to transcend this by creating re-enactment footage that is amazing to look at....and also keeping the dialogue in this footage to an absolute minimum, allowing the actual people (in VO interview) to characterize conversations and verbal interactions. This is another DVD where the 'bonus' material compliments the film viewing experience nicely.

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This is a pretty interesting art film from Iran. It seems to pay tribute to the traditional European style of art-film. It has a slow thoughtful pace and deeply challenging themes. There are very few characters throughout the film, and this human sparseness is echoed by the plain landscape in which the film was shot. I can't strongly recommend this film, but I think that some folks might like it quite a bit. Sometimes sparse stories can leave a kind of 'space' in the mind of the viewer that creates a kind of Rorschach test. Only true filmnerds will appreciate this film, and even those folks might nod off halfway through.

[IMDB Link]

This is a very tragic story in the same vein as 'House of Sand and Fog'. It demonstrates the cruel twists of fortune that can quietly devastate the lives of good hearted people. The film received a lot of attention when it was released and if 2003 did not turn out to be the year of the 'Lord' it might have won Mr. Eastwood a second 'Best Director' Oscar (he won for 'Unforgiven' in 1992). All of the performances are great, but Tim Robbins gives the most perfectly affected and transformative performance I've ever seen him manage to achieve. This is not a good selection if you're in the mood for something uplifting, but it does manage to reach the very highest level of cinematic storytelling.

[IMDB Link]

This film's title sums it up very well....this is a film about very bad things. Very bad behavior, very bad decisions, very bad ideas, very bad fortune, very bad situations, and very bad people. I loved it. The violence was matter of fact and not gratuitous, but nevertheless the brutality reaches the very highest post-Peckenpahvian levels throughout the film. Christian Slater turns in a great performance, as does just about everyone else. Not for the squeamish or the easily offended, but if you love to laugh at physical comedy about decapitation and dismemberment, this film is for you.

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This film is a perfect example of a documentary that explores how truth can be stranger than fiction. The phrase 'they couldn't WRITE this stuff' copiously applies. The story weaves 4 characters who have very non-standard professions and very refined views of the world that are based on their unique experiences. The director is Errol Morris who is also known for 'The Thin Blue Line', 'Gates of Heaven', and the more recent 'Fog of War'. I think most folks would enjoy this film....it's quirky and a little crazy, but also profound and inspiring.

[IMDB Link]

All the President's Men
(1976)

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It is not hard to see why this film was so controversial. A 12 year old Brooke Shields plays the daughter of a 1917 New Orleans hooker (Susan Sarandon). In the course of the film her virginity is auctioned off, she poses nude for photographs, and falls in love with and marries a man in his 30's (Keith Carradine). Her character's sexually precocious behavior and the nude scenes she did throughout the film (including some 'full-frontal') were not what I found disturbing....it was that the film in some ways seemed to 'hearken back' to the good old days when older men who were aroused by pre-pubescent girls were not persecuted and vilified as they are today. The film was directed by the great French director Louis Malle ('My Dinner with Andre', 'Au revoir les enfants', among others)....but all French jokes aside, this film makes me a little suspicious of him.

[IMDB Link]

I am not even close to raving about this film like the critics and some of my friends have been, but I will say that I liked it. It was OK. It's just that I don't see anything that makes it stand above other Holly-merican 'art' films. As with Mr. Tarantino's other films he borrows styles and themes from throughout 'modern' cinematic history to help paint his story with a distinctive collage style....but also like his other films you are left feeling like any real substance was replaced by one-liners, extra slickness, and a whole bunch of flash-sizzle. The fight choreography was created by the famous Yuen Woo-Ping, but while I was expecting that aspect of the film to be completely over the top, it was actually just so-so. Uma is great to watch and I did like the Peter-Greenway-like color temperature experiments that Mr. Tarantino seems to have added to his palette. The animé sequence was very true-to-the-genre and I liked how it suddenly asserted itself into the middle of the live-action film. Anyway, I'll probably get more negative comments for this review than I deserve (I'm not panning it!), but I just can't get on the 'Tarantino is a genius' bandwagon. I still plan to watch 'Vol. 2' when it comes out on DVD.

Stray Dog
(1949)

[IMDB Link]

The Doors: Soundstage Performances
(1969)

Buena Vista Social Club
(1999)

[IMDB Link]

This film is as much about the scenery in the streets of Havana, Cuba as it is about the remarkable music it preserves. The unfakable charm of the cast of characters is as infectious as the music they create, and the long establishing shots of the streets of Havana are endlessly fascinating. On the one hand it's like the place is frozen in time as the buildings and cars all seem to come from some bygone era; but on the other hand the environment has deteriorated to an almost absurd level with the cars all showing signs of multiple resurrections and all the buildings' former grace and beauty obscured under dirt, soot, and the occasional unrepaired major collapse. The absurd relationship between America and Cuba is shown to be even more ridiculous in the face of this film....like two spoiled kids who won't speak to each other even though they are neighbors and have a lot in common. Don't get me wrong....this is NOT a political film, it is a musical film....and the music makes you want to go to Cuba.

Sanjuro
(1962)

[IMDB Link]

A follow-up to the famous 'Yojimbo', this film features the same wandering samurai character played by Toshirô Mifune. This time he wanders into another town that is plagued by corrupt and cowardly men of power and their minions. Once again, our hero outwits them all while maintaining his crude-yet-cool image....demanding food and sake while he half-sleeps his way through the crisis. There is no way not to love the samurai character created by Toshirô-san....probably the most indelible and iconic character in the history of Japanese cinema. This film was directed by Akira Kurosawa, I give it an "A", 'nuff said.

Samurai Jack: Season 1
(2001)

[IMDB Link]

This is a great kids' cartoon from The Cartoon Network. It borrows the best themes from classic samurai films and modern sci-fi animation with plenty of nods to 'Star Wars', 'Star Trek' and 'Indiana Jones'. It was created by Genndy Tartakovsky who is also the creator of 'Dexter's Laboratory' and the ever-popular 'Power Puff Girls', however this series seems like a much more mature effort both graphically and thematically, even though it is basically aimed at the same demographic (kids -and- adults who think it's hip to groove on kids' shows). This first season is 13 episodes, the first three of which form a ~75 minute feature-style origin story for the main characters and plot scenario. I am particularly enamored with the background art, which rolls through the frame like a variety of Japanese silk watercolor scrolls. The characters also have a unique style, varying from Kabuki-mask-like creatures to late 50's jet-set-jazz style cartoons. This is a fun series that almost everyone will enjoy.

Ghost in the Shell
(1995)

[IMDB Link]

More animé for those of us who can't get enough. This film was seen as the next big crowning achievement of the genre following the 7 year reign of 'Akira' (reviewed below) as 'greatest animé feature'. In the 9 years since the release of this film, the styles and themes of animé have flourished and fragmented to the point that there is no longer that one film you can point to and say 'that's the one'....so in a way this film was kind of the last lone reigning champion of animé. But this is not to say that the title was not well deserved. This is a much more exploitative film than 'Akira', which featured teenagers and very little serious sexuality or nudity. 'Ghost', on the other hand, shows violence and nudity that would likely be R or NC-17 if it was in non-animated form. Unlike lesser animé, the story is not a shallow action premise....this is REAL sci-fi in the vein of PK Dick, Gibson, or Stephenson. Fans of good animé and sci-fi cinema will not be disappointed.

Kon-Tiki
(1950)

[IMDB Link]

Many of you might remember seeing this film in your high-school anthropology class or on a Sunday morning PBS/National Geographic special. It is the story of a group of Danish researchers (led by the amazing Thor Heyerdahl) who in 1947 set out to prove that an Incan balsa-wood raft design from prehistoric South America would be capable of traversing the ~5000 mile distance from Chile to Tahiti and the South Sea Islands. The traditional thinking up to that point was that the Polynesian genetic and cultural heritage was derived exclusively from Southeast Asia, but Mr. Heyerdahl thought otherwise based on extensive studies in both Tahiti and South America, as well as his very traditional Danish rearing in the skills and knowledge of winds and currents as they relate to seafaring. Instead of writing a bunch of papers with theories about the parallels between Incan mythology and the traditional lore of the South Sea Islands etc., they built a raft to prehistoric specs and set out to cross the vast and open equatorial ocean that separates the west coast of South America from Polynesia, riding the trade winds and prevailing westerly currents. I hope I don't spoil the ending for you by telling you that they made it, and this film chronicles the truly amazing story of the adventure they had on the way. The footage is very rough and is all black & white, but it is still unbelievable to watch. This film won the Best Documentary feature Oscar in 1951.

The Triplets of Belleville
(2003)

[IMDB Link]

This is a film for animation purists. There is essentially no verbal dialogue and very little spoken language of any kind throughout the film. Instead communication is accomplished through gestures, facial expressions, music/singing, and a very insistent coach's whistle used by the matriarch of the story (with amusing results). The style of the film is absolutely unique, and in particular the characters are very oddly shaped, even by avant-garde animation standards. The detail and style of the backgrounds and establishing shots is impressive and the loosely referential 'Belleville' is presented as a kind of overstuffed retro-NYC. If you are first in line for 'Spike and Mike's' every year of if you just love non-Disney animated features, this film should prove to be very enjoyable.

Lost in Translation
(2003)

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X2: X-Men United
(2003)

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[IMDB Link : X2]

I Soliti Ignoti
(1958)

[IMDB Link]

The literal translation of the title of this film is 'The Usual Unknown'.... 'Unknown' meaning 'unknown persons'. Because of the vagueness of this literal translation the release title for English language markets is 'Big Deal on Madonna Street'....which I think is a stupid name for a film. Anyway, this 1958 'commedia italia' film is a spoof on the 'caper' flick, and was partly inspired by the success of a 1957 British film called 'The Ladykillers' (now made more famous with the 2004 Coen brothers remake) which is reviewed below. 'I Soliti Ignoti' proves (to me) once and for all that the Italians are the coolest people on earth. The ensemble cast of Italy's most famous and popular actors of the time (including a truly charming performance by Marcello Mastroianni) paints a cool and hilarious picture of a group of macho, lazy, and indignant petty thieves who are nevertheless quite charming and likable. Their quippy banter is very hard to follow and a couple of times I had to go back through a scene in slo-mo in order to have enough time to read all the subtitles and get all the gestural context. The venerable Italian comedic actor Totò is also in this film....his films span the 30's through the 60's and were kind of like the Italian version of Chaplin, Laurel/Hardy, Three Stooges, Marx Bros etc.. At any rate, I loved this film but it might not be for everyone.

Big Fish
(2003)

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Pantaleón Y Las Visitadoras
(2000)

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If you see one Peruvian film this year about a secret military mission to deliver prostitutes to soldiers at remote military posts in the Amazon, make it this film. I was impressed with the photography and locations....very tropical. It is listed as a comedy, but it was actually a kind of serious film in some ways. The cultural standards for many of the characters' behaviors and decisions is somewhat different from the kind of thing you'd see in a typical Hollywood film. All-in-all I was not completely sold on the scenario the film presented, but I liked some of the character interaction and the sensuality and eroticism was also well developed. However, I am suspicious of any film that presents prostitution as a clean, safe, and respected middle-class job (kind of like 'Pretty Woman'). Not strongly recommended for all, but if you are looking for something international from South America or if you enjoy Spanish language cinema, I think this could fit the bill.

Step Into Liquid
(2003)

[IMDB Link]

Surf films are a funny breed. First of all there has always been a long-term steady upward trend in the 2 things you need to acquire good surf footage: 1) The level of surfing skills amongst surf professionals -and- 2) Camera, lens, and image acquisition technology. Therefore it follows that surf films are getting better and better on the same upward trend observed in the previously mentioned factors. OK, so that's at least partly true, but surf films are also a little bit like pornography in that they require 'filler'....set-up, interview, and activities-other-than-surfing that can sometimes add an undeniable charm, as in the famous 'Endless Summer' films. Usually, though, all that yammering about 'the pure wave' or whatever is just a bunch of fluff to get you to the next scene of epic ride after epic ride. This film goes for the high road on both counts and creates a nice well-rounded viewing experience. The technology and technique involved in the film's best super-rip footage is definitely as good as modern surf footage gets, but the thematic threads that hold the film's vignettes together are much more genuine and widely appreciable than most surf films. If you are a surfer or like surf films you will really like this film a lot. It is not 'cool' or 'hip' at all, just very very genuine....with some super-sick rides captured as well.

Swimming with Sharks
(1994)

[IMDB Link]

This is a dark comedy that has many of the kind of sharply critical depictions of the film industry as 'The Player'. Kevin Spacey stars as the enigmatic and vicious Buddy Ackerman, a Hollywood producer who gains stature through the subjugation of his inferiors and the subversion of his peers. The other principal characters are played by Michelle Forbes and Frank Whaley, but their adequate talents are entirely diffuse next to the towering might of Mr. Spacey's performance. As a Trekie I find it strange to watch popular Star Trek actors portray 'normal' non-space-related characters....Ms. Forbes played Ensign Ro Laren on 'The Next Generation' for several years. I feel kinda bad for them....it is a stigma that has pigeonholed the careers of almost everyone who has starred on any of the 5 TV shows they've fielded to date. Her performance in this was not good enough to dispel that stigma. Anyway, you've gotta love any 'comedy' that includes home invasion and brutal torture, but I recommend this film hesitantly and without enthusiasm. It was just OK.

Castle in the Sky
(1986)

[IMDB Link]

There are 5 'major' animated features by director Hayao Miyazaki....soon to be 6 since 'Howl's Moving Castle' will be released in Japan in the fall of this year. This film is the first of them all, and even though it's the oldest it has every bit of the intricacy and substance as the others (which for the record are 'My Neighbor Totoro', 'Kiki's Delivery Service', 'Princess Mononoke', and 'Spirited Away'). If you have read the other reviews on this page or been cornered by me in a film conversation lately you know that I think very highly of Miyazaki's work, and I don't want to repeat any of the gushing comments I've made in the other films' reviews....so I'll just take this opportunity to mention a common theme in these films that I have not taken notice of before: All of the films have at least one really major part of the story that revolves around flying. There are many elements of these films that lead me to believe that Miyazaki is actively and intelligently trying to approximate the sensation of a visceral dreamstate in his films, and I believe that the presence of flying (and also falling) in all 5 of his features is a part of this plan....especially since the flying is depicted as supernatural and occasionally precarious, as it sometimes is in a real flying dream. In 'Castle in the Sky' flying is a central part of the story, so much so that I even got a touch of vertigo in a couple of scenes. The principal difference between this film and the others is the presence of a fair amount of gun violence. Nevertheless it is a great children's story, and like Miyazaki's other films it is highly recommended.

The Animatrix
(2003)

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This film is just about what you would expect from a 45 year old Japanese comedy....it was ultra-cute and not the least bit funny. The gag humor seemed to be isolated to fart jokes....and then there was the kid who kept shitting himself....but despite the scatological humor the film was otherwise quite reserved. It was most enjoyable to me as a window on the culture that created and consumed it....which was 1959 Japan. I really enjoyed the colorful sets and costumes, which were exagerated by the saturated 'technicolor' look of the transfer print. The story ties together a group of families in a suburban setting. There are a bunch of gossiping housewives who scandalize amongst themselves in what seems like extremely sexist stereotyping. The husbands are reserved salarymen, and the kids are all boys. There is an extreme status-conciousness amongst the characters that is based on consumerism (ie. who buys the new washing machine, etc.), and the film centers around two of the boys who take a vow of silence in protest of their parents' reluctance to buy a TV set. This film would probably not be of much interest to anyone except a true Nipponophile.

Legally Blonde
(2001)

Legally Blonde 2: Red, White & Blonde
(2003)

[IMDB Link 'Legally Blonde']
[IMDB Link 'Legally Blonde 2']

Ahem. No, I have not lost my mind. These were great films....funny and clever and very well performed. Reese Witherspoon is great in both films, and reminds me of a young Goldie Hawn or Lucille Ball; very beautiful, but not so much in a glamorous way....more like in a hilarious way. In terms of performance her timing and delivery are fantastic, and the character she develops is a perfect blend of annoying stereotypes that somehow comes out as likeable and entirely sympathtic. The supporting cast also made a major contribution to the overall hilarity, including the amazing Jennifer Coolidge who you'll regognize from 'Best in Show', 'A Mighty Wind', and 'American Pie'. It's hard to say if the first or second of these films was better, and it should be noted that at the very end of LB2 there is a great set-up for a third film....which I am most certainly looking forward to. If you are a brooding artistic soul who requires philosophical depth in a film in order to get enjoyment from it you will not like these movies. Everyone else will pee in their pants.

Mephisto
(1981)

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I tend to be a little skeptical when viewing German films about the Nazis. There is an obvious and appropriate cultural sorrow over the fact that their grandfathers and grandmothers were at best unable to resist Hitler's rise to power, and at worst supportive and complicit with his regime. But sometimes their films about this unhappy time in their nation's history take liberties with the facts to provide an 'explanation' or (god forbid) excuse for how a basically civilized culture could allow such evil to remain unchecked for so many years. In the case of 'Mephisto' the story is about a great German stage actor who despite his fundamentally liberal ideology finds himself kissing Nazi ass in order to maintain his social and professional status in Berlin. He did this while friends, family, and colleagues were arrested and/or killed and others fled the country. Although he meekly tried to use his influence to help or save some of these friends etc, he was essentially ineffective. To watch this film you would think that the Nazis primarily targeted communists, homosexuals, mixed-race Africans, and artists....the Jews were portrayed as a minor target of persecution. Because this film takes place in the early-30's around the time Hitler was first made chancellor, this is not entirely inaccurate....as the saying goes: 'First they came for the communists....' etc.. Still, the legacy of Germany in the 30's through VE-day is primarily one of institutionalized genocide, and I am wary of any film about the Nazis that glosses over this. We live in a world where 'civilized' governments like Israel, Saudi Arabia, and Iran openly support institutionalized hatred based on race and religion; millions of people all over the world think that the killing of US citizens on 9/11/01 was a gift from God; and the executive authority of the world's only remaining 'super-power' has been placed in the hands of liars and criminals. We might think we've come a long way since WWII, but as a world community we are really not all that far removed from the 1932 Germany depicted in 'Mephisto'. At any rate, great performances in this film make it a semi-worthwhile viewing experience, although I was not all that sympathetic toward the main character as I believe the filmmakers intended....I thought he was a sniveling wimp. Also just to point out that there's no accounting for taste, this film was the 1981 Oscar winner for Best Foreign Language Film.

Yojimbo
(1961)

[IMDB Link]

This is one of Akira Kurosawa's great samurai films. As the film opens the main character (a masterless samurai) wanders into a small town that is divided by strife between two nefarious groups of townsfolk fighting for control of the local gambling and prostitution trades. As an efficient and practiced killer in a town of moronic and undisciplined thugs he finds himself in a unique position to manipulate the situation to his advantage. There is an acute awareness of Hollywood 'style' (particularly westerns) in Kurosawa's earlier work, but he infuses it with a native sensibility to Japanese storytelling and mythology that makes for a very unique viewing experience. Unlike much of the foreign language cinema that finds an audience in the US this is not an art film. It is much closer to the brooding westerns of Sergio Leone than to the lofty intellectualism of Goddard, Bergman, or Herzog. The main character is played by the incredibly cool Toshirô Mifune, who is like a Japanese John Wayne/Clint Eastwood. The gun-toting samurai that is the nemesis of our main character is straight out of 'Raiders of the Lost Ark', and further to that anyone who is intimately familiar with the early work of George Lucas can see many elements in 'Yojimbo' that clearly inspired some of the stylistic details of 'THX 1138' and 'Star Wars'. This is a great story that is very accessible to American viewers, and as long as you don't mind subtitles you'll like this film.

Funny Face
(1957)

[IMDB Link]

I have been accused of giving a lot of overly good grades and writing too many glowing reviews on this page, but in my own defense I usually do at least some research on the films before I screen them, and I don't generally plan to screen films that I don't expect to be of high-quality and at least moderate enjoyability. Occasionally, however, I am disappointed by a film I thought would be good, and 'Funny Face' falls squarely into that category. Fred Astaire seemed tired and bored throughout this entire film, and his dancing lacked all of the the creativity and spark that is the hallmark of his better films. Audrey Hepburn's character was insipid and annoying....not at all sympathetic, more like pathetic. And the music and lyrics (primarily by the legendary George Gershwin who was already dead 20 years when this film was released) sounded like they might have been composed in the midst of some drunken melancholy. The attempts at 'clever' cinematography, like the triple-split screen in one of the musical numbers, were really just plain stupid, and even some of the sets were totally half-assed and inauthentic. The overly (and badly) stereotyped beat-generation characters in both Greenwich Village and Paris just made this film seem even more 'square' than it already was, and the girly-girl fashion-maven crap was nearly as infuriating. The director, Stanley Donen, is certainly no hack (he also directed 'Singin' in the Rain', 'Seven Brides for Seven Brothers', 'Damn Yankees!', 'Charade', 'The Little Prince', and 'Blame It on Rio' among others), but he really fucked this one up big-time.

Songs from the Second Floor
(2002)

[IMDB Link]

This is a VERY artsy film from Scandinavia (made in Sweden with a Swedish/Danish/Norwegian crew). It is a sequence of very loosely associated scenes that form a kind of cinematic poem. In most of the shots the camera is wide-angle and completely static, and the scenes unfold without edits under the auspices of the actors. The sets were all constructed in a studio environment so the composition and sequencing of the scenes was exhaustively tweaked and rehearsed....and it shows. If the characters in this film are any indication, the people of Sweden are even fatter than the people of Milwaukee. Perhaps not as fat as the people of Houston, but still.... Anyway, I enjoyed this film very much, but I will offer the caveat that it is big on art and little on story. That having been said it is very beautiful to watch and those of you with high tolerance for unabashed self-indulgence in cinematic art are likely to enjoy it as I did.

My Neighbor Totoro
(1988)

[IMDB Link]

This is an earlier animated film from director Hayao Miyazaki, who has directed several well-reviewed titles on this page ('Spirited Away', 'Princess Mononoke', 'Kiki's Delivery Service'). This film has the same naturalistic style and authentically portrayed kid-perspective that made those other films great. I love the fact that Mr. Miyazaki's films stand in contrast to so many of the conventions of classic American G-rated animation (read as 'primarily Disney'). I am not a Disney-basher, but I do recognize the occasionally glaring flaws in their corporate directives that have made them a target for the people who tend to over-analyze movies (like me). Miyazaki's films offer an alternative that helps to place Disney's work in a wider perspective. In the case of 'Totoro' (pronounced 'TOE-tər-oh') Miyazaki portrays two sisters who have recently moved to the country with their father (their mom is in a hospital in the 'city' suffering from some malady that is not clearly spelled out). While they are settling in, the girls encounter creatures from an ambiguous spirit world that are mysterious and also a little intimidating. The spiritual superstition that permeates the way all the characters (adults too) respond to this supernatural discovery would never make it in a Disney film, probably because they have such a strong interest in avoiding offense to the American public's christian sensibilities....but in this film it is so very charming. Also, I don't think you would ever see naked children in a Disney film....particularly naked children hanging out with their naked father in a hot bath (as occurs in a very cute little scene in 'Totoro')....despite the fact that bathtime is an entirely natural and joyous part of the lives of many children in many different cultures. For me this is not a question of what is 'appropriate' content for a children's film, it is a question of what level of authenticity is required to really speak to children (and, ahem, adults too), and to tell a story that dovetails with their unique and unspoiled perspectives on the world. One of the reasons that 'Monsters, Inc' stands well above all of the other films ever released by the Walt Disney Company (obviously just my opinion) is the fact that it captured some of this kind of authenticity that has eluded so many of their other films....many of which, it should be said, are excellent and beautiful films anyway. At any rate, this is a great children's film. Those of you who appreciate great animation regardless of your age, particularly folks who are fans of Miyazaki, will love it.

House of Sand and Fog
(2003)

[IMDB Link]

The reviewer from the SF Chronicle called this 'the feel-bad movie of the year', and despite his cheeky smart-ass sentiment in the face of such a profoundly tragic story I think he's just about right. This is a true tragedy in the Shakespearean sense. The story has resolution, but there is no redeeming joy or sense that there might be a glimmer of hope past the end. This film is a complete and downright bummer. There are no 'bad-guys' and/or 'good-guys'....just a bunch of relatively normal characters making a bunch of unfortunate decisions. As you would expect, Sir Ben Kingsley gives a jaw-dropping performance as Col. Behrani, an exiled Iranian Air Force commander living in California who has suffered the humiliation of being stripped of the lofty social status he maintained before his government was overthrown by the Ayatollahs. Jennifer Connelly is also very good as a sort-of-recovering alcoholic, although the filmmakers did not adequately portray the complexity of a realistic struggle against addiction. Also impressive was the young Jonathan Ahdout who played Behrani's son Esmail. However, IMO the most authentically striking performance of the film came from Shohreh Aghdashloo who plays Behrani's wife Nadi. For her role in this film she became the first Iranian to be nominated for an Oscar as Best Supporting Actress. If you are feeling depressed I recommend that you not screen this film until you cheer up a bit. For those of you who's lives are peachy this film will remind you that living is at best a pointless exercise in futility, and at worst a maelstrom of ironic suffering.

Children of Heaven
(1999)

[IMDB Link]

Dirty Pretty Things
(2002)

[IMDB Link]

The Filth and the Fury: A Sex Pistols Film
(2000)

[IMDB Link]

Modern Times
(1936)

The Great Dictator (1940)

[IMDB Link 'Modern Times']
[IMDB Link 'Great Dictator']

Charlie Chaplin is among the very few truly iconic actors in the history of cinema. It's not just the bowler, tails, and cane....it's the wild flailing gestures, exaggerated facial expressions, the trademark toe-out walk....as well as all kinds of subtleties too sublime to effectively describe here. Both of these films were made long after the heyday of the silent era in which Chaplin became famous....but of course he remained a celebrity and continued to have an audience for his films throughout his entire life. 'Modern Times' (1936) is a very interesting comedy that lampoons the newest technological advances of the day (mid-30's) while addressing the political and social divisions inherent in the 'modern' workplace....as well as society in general, touching on labor rights and the plight of the depression-era poor. He sticks with the silent-film conventions of storytelling throughout most of the film, but uses synch-sound very sparingly in a few scenes which creates some interesting and amusing results. Most film historians recognize 'Modern Times' as Chaplin's last silent film. 'The Great Dictator' is a very different film which abandons the silent-film style in favor of 1940's contemporary synch-sound dialogue style. As you might imagine it is a satirical allegory of Hitler, but it also touches on related issues, like the plight of the European Jews, the cult-of-personality driven nationalism that was gripping Europe at the time, and the complacence of the ruling-classes in the face of the Nazi menace. As a world traveler and celebrity socialite Chaplin had strong feelings about what was happening in Europe in the late 30's, and like many Americans at the time he thought that the US should be more involved. Assumedly because of these feelings Chaplin used his influence to make and release this film....and I say that because it is so self-indulgently political and timely that as a modern viewer it is a little hard to get into. On a scene-by-scene basis there are plenty of great Chaplin gags, including a v funny barbershop scene that was almost certainly the principal inspiration for a similar scene in the 1957 Bugs/Elmer classic 'What's Opera Doc'. But unlike Chaplin's best films the exquisitely goofy moments in 'The Great Dictator' don't really blend with each other or the overall arc of the story. Of course just over a year after this film's release the US did get into the war and we all know the rest. 'The Great Dictator' is perhaps not as entertaining as Chaplin's more popular films, but it is a fascinating historical remnant from the final months before the world changed forever.

The Man Who Wasn't There
(2001)

[IMDB Link]

Road to Perdition
(2002)

[IMDB Link]

After watching this film for about 20 minutes I felt the need to pause it so I could go look up the word 'perdition'. Apparently it means either 'utter destruction' or 'eternal damnation'. At any rate, this is the second film from director Sam Mendes who's debut film 'American Beauty' astonished just about everyone who saw it....and then astonished everyone again when it was embraced so enthusiastically by the Hollywood establishment (it received 8 Oscar nominations and 5 wins in 1999....including best actor, director, and film....pretty good for a first outing). 'Road to Perdition' is based on a graphic novel of the same name, which I intend to buy and read based on my enjoyment of the film. Like 'American Beauty' this film has a palpable mood and flavor that is nevertheless difficult to describe. The story takes place in gangster-ridden 1931 and the period styling is flawless, including the automobiles and costuming. The armory supplied some authentic 30's gangster firearms for closeups in some of the scenes....like the classic wood-handled Thompson machine gun that Tom Hanks' character owned. Many of the snowy exterior set-ups could not have been naturally occurring, and speaking as someone who has lived in towns where it snows, these scenes were executed perfectly by the art department. This film is not for folks who are averse to graphic depictions of violence, but I recommend it to everyone else. 'Road to Perdition' is 2 years old now and Mr Mendes is apparently not even in production on another film yet....I really wish he'd pick up the pace a bit. His work is remarkable.

Y Tu Mamá También
(2001)

[IMDB Link]

This is about as honest and uninhibited a film as you're ever likely to see. What I mean by that is that the story does not back down at all from depicting its characters in all kinds of absolutely normal situations (like fucking or pissing or weeping) that seem so private and real as to inspire a sense of voyeuristic fascination. This is a story about the raw beauty and sadness of human nature; the kinds of things that our minds focus on in the most private moments; the way we long for each other....and ultimately the stark reality of the random fortunes that bless and curse us. Take special care in the company you choose to view it with....frankly, this film would make Madonna blush. The rural locations they used were so natural and exquisite it made me think that I should be making plans to spend more time in Mexico. And if all that isn't quite enough to sell you on it, the music is fantastic.... subtle and unexpected, but fantastic. This film got huge 'buzz' the year it came out, and I must say it was well deserved.

The Ladykillers
(1955)

[IMDB Link]

It is easy to see why the Coen brothers chose to create a modern adapted remake of this film (the new 'Ladykillers' is just released in theaters starring Tom Hanks). This is a very clever and slyly dark film that lampoons the ultra-polite patrician affectations of the British middle-class while telling a truly original and genuinely funny story. The quite legendary Sir Alec Guinness stars as a quirky buck-toothed con-man who masterminds a plan (with his small group of criminal associates) to involve his unsuspecting little-old-landlady in an armored-car heist. The slowly evolving mishaps that occur as the plan dissolves form the basis for the story. A 29 year-old Peter Sellers (as one of the thugs) is a highlight of the film. You can barely notice the emergence of the signature bumbling physical comedy that made him so famous later in his career. If you've only seen Mr. Guinness as Obi-Wan Kenobi ('Star Wars' et al) and/or Colonel Nicholson ('The Bridge on the River Kwai'), you should really check him out in this.

Fist of Legend
(1994)

[IMDB Link]

This is a martial arts film for people who really like martial arts films. It is a remake of the 1972 Bruce Lee film 'Jing Wu Men' (alternatively known as 'The Chinese Connection' and 'Fist of Fury'), and it is a tribute to everything that makes these films so compelling. The film stars Jet Li, and the fighting was choreographed by the legendary Woo-ping Yuen, who has designed the action sequences in such films as 'The Matrix' (and sequels), 'Kill Bill' (1 & 2), 'Crouching Tiger, Hidden Dragon' and my personal all-time-favorite martial arts film 'Iron Monkey'. The fighting in this film is fierce, and a few of Jet's moves are like nothing I've seen on film before. As with most films of this genre some of the dialogue translations came out a bit on the goofy side and added some humor to the viewing experience. If you like martial arts films this is a very good pick. If you don't know much about martial arts films but you're curious, this would be a good one to watch to test whether or not you like martial arts films.

Pather Panchali
(1955)

[IMDB Link]

I'm far from the first to say it, but this film is one of the absolute all-time masterpieces of cinematic art. It is the directorial debut of Satyajit Ray, who has been called the father of Indian cinema. At the time this film was being conceived and constructed he was already very aware of the cutting edge work being done by his European contemporaries. He was particularly inspired by the 'neo-realists'....a group of Italian filmmakers who in the mid-forties found themselves suddenly freed from the confines of the state-controlled cinema of Mussolini. They used their newfound freedom to tell stories about the tribulations of 'common' people that many viewers at the time found quite off-putting....and admittedly some of these are among the most depressing films ever made. Satyajit loved these films and one in particular, 'Ladri di Biciclette' ('The Bicycle Thief'), was a major source of inspiration for 'Pather Panchali'. He saw the potential impact of India's recently gained independence from the British Empire as akin to the kind of post-war cultural upheaval that inspired the 'cinema of liberation' he saw coming from Europe. Ultimately it was this heartfelt belief and the lifetime of action behind it that inspired the generations of Indian filmmakers that have collectively built the modern Indian film industry....which many Americans don't realize is the second largest in the world after our beloved Hollywood USA. The subdued production value of this film is somewhat noticeable, as Mr. Ray's meager budget and limited access to modern filmmaking equipment (or even decent filmstock) necessitated making many sacrifices. However, all of that is completely obscured by the brilliant storytelling, the beautiful photography, and the revealing window he opens for us to glimpse his culture. I feel compelled to place a cautionary filmnerd caveat upon this film for those of you who prefer the standard Hollywood-style fare. However.... even if your taste in film is limited to the easy-to-watch pap that spews eternally from the shiny Los Angeles movie nozzle, you should give this one a chance.

The Treasure of the Sierra Madre
(1948)

[IMDB Link]

This is the 8th film in the amazing directorial career of John Huston. He made a total of 45 films starting in 1941 ('The Maltese Falcon')....and his final film was released the same year he died in 1987 ('The Dead'). Most of his films you've probably at least heard of, and it should be noted that several of them are considered to be among the best American films ever made. Just to name a few: 'Key Largo' (1948) 'The Asphalt Jungle' (1950) 'The Red Badge of Courage' (1951) 'The African Queen' (1951) 'The Misfits' (1961) 'Casino Royale' (1967) 'The Man Who Would Be King' (1975) and 'Prizzi's Honor' (1985). At any rate, 'Treasure of the Sierra Madre' is a very entertaining film that takes some interesting risks for its time. First of all, the star (Humphrey Bogart) appears dirty, bearded, and unkempt throughout most of the film. Modern viewers are familiar with actors like Robert De Niro, Tom Hanks, Charlize Theron, and many others who have taken roles that require them to alter their appearance in some disparaging or vulnerable way....but in 1948 the really big stars were not typically called upon to present themselves in a physically unflattering light under any circumstances. In this case Bogey's ragged appearance adds to the characterization of the fictional Fred Dobbs very effectively. Another atypical element of this film is the fact that Bogart's character devolves from the 'gold-hearted rogue' caricature that he usually plays to eventually occupy a completely unsympathetic position in the story. Again, most modern viewers have seen films in which a major character vacillates between protagonist and antagonist, but the 1948 Hollywood-cinema-machine generally created movies with highly predictable arcs and motivations. Although the big stars of the era would certainly play 'bad-guys' from time-to-time, they were rarely portrayed as truly despisable and pathetic. This story defied that convention and in the process made a strong assertion about the effect of greed on personal morality and ethics. I also thought that it was interesting (and unusual) how Huston allowed long passages of Spanish dialogue to go un-subtitled, even though many of those scenes are directly related to the forward progress of the story. All-in-all a good film, and as long as you like classic American cinema you will like this film.

Kiki's Delivery Service
(1989)

[IMDB Link]

This is another animated film from Hayao Miyazaki and Ghibli Studios in Japan (they also did 'Spirited Away' and 'Princess Mononoke' reviewed below). As with all of their work the animation is breathtaking and in particular the detail and depth within the backgrounds is incredible....even the ones that are only in a single 4 second shot are given the same attention as any other shot in the film. I decided to watch this film twice before sending it back....once with the original Japanese performances with English subtitles and then with the Disney sponsored English overdubs (starring a teenaged Kirsten Dunst as Kiki and the late Phil Hartman as her cat Jiji). I was struck by how different the experiences were and how different the characters seemed. In particular the Japanese actor who voiced Jiji had a sweet, meek little-kid's voice, while Mr. Hartman gave the cat a much rougher and louder presence. There is a dedication to him at the end of the English language version, and I must say that enjoying his performance in this (as with anything I watch him in since his death) was bittersweet. Also, I found it interesting that for a kids' film starring an animated 13 year old girl, the filmmakers seemed to have a pretty lax standard regarding how many times it is appropriate to show the main character's dress blowing up to reveal her underwear. I don't get the feeling that this portends any lecherous intent, and it's really more goofy-cute than creepy-inappropriate. I think it might be a Japanese thing. 'The Witch's Express Mail' (this film's literal title) does not have the universal appeal of 'Spirited Away', but if you like animé -or- if you are or will-be-watching-with an actual kid, I highly recommend this film.

Solaris
(2002)

[IMDB Link]

This is Steven Soderberg's re-make of the 1972 Soviet science fiction film of the same name (reviewed below), which was based on a book by Stanislaw Lem. This version is shorter by almost half, but it did not lose the slow eerie pace of the original. As always, Soderberg's photography is friggin incredible. He uses light as if it has weight like a hard object or volume of liquid....and he divides his shots over time into planes of focus, revealing the objects and characters that move through them in stages. Mmmm. Beautiful. This is a pretty thoughtful film without the typical sci-fi trappings of laser-guns and monsters, and much like the original, I really appreciate the way the story questions how love and relationships are effected by memory and perception...ie. do we love the 'person' or do we love our own memory and perception of that person, and further to that, how do our memories feed back into who our loved ones 'are' and who they become to us and others? Some themes in Soderberg's version are fleshed out differently than the Soviet version, particularly the ending which is not quite as literal in the newer film....but I don't want to get into simply comparing/contrasting these two films. Both are good in different -and- similar ways.

Midnight in the Garden of Good and Evil
(1997)

[IMDB Link]

Clint Eastwood's films are generally so well-crafted and enjoyable, and this is one of the best I've seen of his. Many people don't realize that he has directed 26 films (!) since his directorial debut in 1971 ('Play Misty for Me')....which is actually about half of the number of films he has acted in. His films include 'The Outlaw Josey Wales' 'High Plains Drifter' 'Pale Rider' 'The Gauntlet' 'Bird' and the more recent 'Mystic River' This one is not as much a based-on-a-true-story story as it is an inspired-by-actual-events story....if that makes any sense. I loved the character-focus of the film, and I thought it was acted flawlessly, with the exception of Alison Eastwood who's unpracticed and inauthentic southern drawl made any redeeming qualities of her performance fall flat. The characters in the film were based on real folks, and in some cases local Savannah residents played themselves....in particular the role of Lady Chablis (played by Lady Chablis) was spectacular. Despite its somewhat exhausting 2 hour 35 minute running time, I think just about anyone would enjoy this film.

Whale Rider
(2003)

[IMDB Link]

This film got a ton of exposure this year due in no small part to a Best Actress Academy Award nomination going to the star Keisha Castle-Hughes who was 12 when 'Whale Rider' was shot, making her the youngest Best Actress nominee ever. She's clearly cool, and folks (like me) who are hip to the 'Star Wars' tip are also stoked to see her as the Queen of Naboo in SWIII due out in 2005. I suppose that I was expecting this to be a good film, but based on its 'rep' I also was expecting a level of sentimentality that I thought I would find off-putting; a little like 'Cinema Paradiso'....which was a good film that I loved, but I felt like it kept purposefully reaching for my heartstrings, which started to become annoying. As it turns out 'Whale Rider' cretainly had its share of touching moments, but it never resorted to the sugar-sweet-barforama inherent in many other films of it's genre. The art department really outdid themselves in one major scene in the film....but I don't want to spoil by discussing that any further. I think most folks would like this film. Really, the only kind of people that would not enjoy this film are the kind of monstrously cold-hearted sickos that this world could do much better without.

In This World
(2003)

[IMDB Link]

Institute Benjamenta
(1995)

[IMDB Link]

The Wild Bunch
(1969)

[IMDB Link]

Miller's Crossing
(1990)

[IMDB Link]

Once Upon a Time in Mexico
(2003)

[IMDB Link]

Seems like these reviews have been getting a little long so I'll just say that this movie was about as disappointing as they come. A stupid premise for an action story and a love story told 100% in retrospect. This was a tired and directionless movie which painfully overused the 'slo-mo-ultradrama' style sequence. You would expect that at least the music would be good since it IS a story about a musician....but alas, no. This was just generally a poor attempt at making a film....or even telling a story. Some of the photography was really beautiful, but I could say that about some of the commercials I saw during Star Trek last night. This was a total waste of 104 minutes of my life, except for the brief time I spent on the phone during the screening.

Dune
(2000)

[IMDB Link]

[NB: This review concerns the 2000 Sci-Fi Channel mini-series NOT the more famous 1984 David Lynch version]

For those of us who are ardent fans of Frank Herbert and his 1965 genre-changing sci-fi novel 'Dune' (and subsequent sequels), the creation of a film version of this story with the great scale and vision of the book is a hopeful inevitability. There are few who have read it (sci-fi fan or not) who are not swept away by the expansive scope of Mr. Herbert's imagination and the visceral completeness of the worlds he describes. David Lynch's big-budget Dino DeLaurentis supported film version (released in 1984) is beautifully designed and executed....but from a story-arc standpoint the Lynch version is not just abridged, it's completely abbreviated. So the announcement that an international group of production and FX companies were working on a nearly 5-hour mini-series of 'Dune' for the Sci-Fi Channel created great cause for hope among us 'Dune-ies'. Alas, this time we were still left waiting for the real-deal. I can say lots of good things about this film/series: 1) They nailed the haunting blue-within-blue eyes of the Fremen (Lynch's effect was not very authentic) 2)They used computer generated exteriors/landscapes combined with shots of the actors (against bluescreen) to create some very beautiful compositions that would be otherwise impossible or impractical 3) The 'stillsuits' were much truer to Mr. Herbert's rather detailed descriptions than the inaccurate black hoodless version proposed by the Lynch film 4) The 'Ornithopters' also matched the Herbert vision more closely than Lynch's. On the other hand: 1) William Hurt is much too mild a presence to effectively capture the raw power and might of Duke Leto Atreides 2) The Art Director blatantly omitted the dominant black/green Atreides color scheme that Herbert described so vividly (and that looks so beautiful in my mind) 3) In general the casting of these epic characters left many of them seeming rather ordinary....more like one-dimentional Star Trek aliens than the rich personalities that inhabit Herbert's book. In particular, the actor who played Feyd Rautha (played in Lynch's film by Sting) seemed more like some guy you might pick up in a Castro laundromat than the ascendant heir to powerful House Harkonnen. I am very hopeful that someday a world-class film version of this masterpiece of 20th century literature will be created, much like what Peter Jackson has done for 'The Lord of the Rings'. Lynch's 1984 version got the mood, the intensity, and the look just about right, but left out most of the story. The Sci-Fi Channel version came much closer to telling the whole story, but the...well....the 'epicosity' was just not there.

Barbarella
(1968)

[IMDB Link]

Now THIS is the kind of surprising film-viewing experience I wish I could have more often. The title role is played by a young and very sexy Jane Fonda, and there is an unlikely appearance in a speaking part by Marcel Marceau, the renowned French mime who has only acted in 10 films in his long and distinguished career. Anita Pallenberg, famous for her romantic connection to 3 of the Rolling Stones, also co-stars...and the film was directed by Roger Vadim who was the then-husband of Ms. Fonda. 'Barbarella' is based on a controversial French comic strip of the same name which began serialization in 1962 and was initially censored in France despite it's rapid rise in international popularity. The author is the now-beloved comic artist Jean-Claude Forest who was eventually honored with his own postage stamp by the French government. This film is in constant contradiction with itself, and in the end it forms what I see as grand and hilarious joke. Looking at it purely as a movie, it is intentionally unsophisticated and exploitative (even a bit stupid), but it is nevertheless quite entertaining. Barbarella's throbbing pink spaceship with deep-pile-shag interior is fantastically comical, as are every single one of the sets and costumes. It should be said that the effects are generally poorly executed, but I'm pretty sure that was on purpose.You might find yourself (as I did) eagerly anticipating Barbarella's next costume change....which was usually precipitated by her previous costume becoming shredded or removed in some semi-violent/semi-erotic way. Some of the one-liners and spot-gags are great, and some memorable snippets of dialogue like 'a life without a cause is a life without an effect' -or- 'an angel has no memory' actually come across as somewhat profound. However, looking at 'Barbarella' as a window on US and W.Europe social and political history within the late 1960's, it takes on a much wider dimension. The contradictions inherent in the sexual revolution and the anti-war movement are metaphorically explored....and issues of personal and cultural sovereignty and freedom -vs- utopian totalitarianism also bubble under the surface of this remarkable film. Three years after the release of this film Ms. Fonda won a Best Actress Oscar for her role in 'Klute', but you wouldn't expect that based on her campy performance in 'Barbarella'. I gave it a special grade of 'B++' because I couldn't bear to place it in the same category as the films on this list that have earned A's, but this film clearly deserves the highest 'B' I can possibly give.

Solaris
(1972)

[IMDB Link]

If you are a fan of Early-70's-Russian-Psycholgical-Sci-Fi-Epics you'll love this film. I gave it a pretty high grade, but I do not necessarily recommend it for the average viewer. It is almost 3 hours long and moves at a very sluggish and thoughtful pace. One thing about this film that is quite remarkable is the fact that it is from hard-core Soviet-era Russia, and those of us who grew up in the US during the 70's and 80's were constantly pitched a vision of their culture as creatively stifling and bland. This film defies that preconception, and makes some very interesting assertions about the nature of interpersonal love as it relates to memory and self-image. It also introduces film audiences to the amazing vision of Stanislaw Lem, the highly regarded Polish sci-fi author who's stories are among the most unique and ethereal in the genre. In particular, the Solaris Ocean has to be one of the most interesting and subdued aliens ever depicted in a sci-fi film. Anyone who is somewhat familiar with modern Russian art and cinema has probably noticed that the craft of photography seems to permeate their culture, and this film continues that tradition with some breathtaking and highly refined cinematography. The art direction also shines through the sets that depict the disheveled space station in which most of the film takes place. Lastly, the effects used to create the aerial images of the Solaris Ocean were amazing for 1972 technology....I am not entirely sure how it could have been done without the aid of computer imaging. I loved this film, but only recommend it to those who are ambitious consumers of sci-fi and/or Russian cinema. Also of note is the fact that this film was re-made in 2002 by Steven Soderbergh....a review of that film is pending a future screening by the Filmnerd.

Underworld
(2003)

[IMDB Link]

The Getaway
(1972)

[IMDB Link]

As the title suggests we spend the entire film watching the main characters trying to....?.....any guesses?.......that's right! GET AWAY. This is another film from the heyday of Sam Peckinpah's too-sparse career (see also: 'Straw Dogs' reviewed below). It continues the tradition of several of his strongly held themes, including a main male character (Steve McQueen as Doc McCoy) who becomes the focus of a nefarious and lurking threat, and a main female character (Ali McGraw as Carol McCoy) who is beautiful and sympathetic, yet capable of disloyalty and subversion of the male characters' desire. I have long thought that in many ways Ali McGraw represents for the 70's what Grace Kelly does for the 50's in terms of providing an American feminine ideal. I won't elaborate on that too much (boring filmchat) but this film really cemented that idea for me. She is certainly beautiful like most top movie stars of any given era, but her screen presence goes far beyond that. Her thin tan healthy appearance and 'natural' hair makes her seem kind of hippie-chic, but her character in this film was capable of firing large-caliber handguns like a pro and driving a big throaty muscle car around pretty aggressively. In most of the shoot-out-chase scenes her character's the one doing the precision driving while McQueen becomes a one-man-out-the-window artillery brigade. These days women characters who shoot to kill and drive like crazed fighter pilots are commonplace in popular US cinema....but they weren't in 1972. Like 'Straw Dogs' this film immerses itself in its location.... prison scenes were shot using real inmates and real guards, and all kinds of picturesque Texas locales and extras were used as backdrop. This is a great film by a great director with the two biggest movie stars of 1972's Hollywood.

Intolerable Cruelty
(2003)

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13 Conversations About One Thing
(2002)

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American Splendor
(2003)

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Samurai Jack
(2001)

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Full Frontal
(2002)

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Thirteen
(2003)

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Capturing the Friedmans
(2003)

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[This review has been determined to be misinformed based on additional information from other documentary and media sources. I no longer believe that the filmmakers were responsible in their creation of this film. I have not deleted the original review (which appears below), but I have altered the grade to reflect my sense of dissatisfaction with their glaring and manipulative irresponsibility.]

Original review:
I was profoundly moved and disturbed by this documentary about an accused child molester and his family. The thing that made this film unique was the incredible abundance of home-movie type footage that was made available to the filmmakers. The Friedmans represent multiple generations of amateur home-movie makers so there were 8mm and 16mm moving images of the family going back many years right up through present day. The other remarkable footage in this film comes from David Friedman (one of the three sons) who captured (on video) some very private moments associated with the arrest and trial of his father and subsequently the arrest/trial of his younger brother. As this film begins it feels like a standard Bill Curtis 'Investigative Reports' or 'Frontline' type documentary....but at a certain point you realize that it is something very different and special.

Mighty Aphrodite
(1995)

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Blue Gender: Vol. 1-8
(2003)

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Gosford Park
(2001)

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Diner
(1982)

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Straw Dogs
(1971)

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Dark Days
(2000)

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Plaza Suite
(1971)

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Shine
(1996)

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Donnie Darko
(2001)

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The Taking of Pelham One Two Three
(1974)

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Tart
(2001)

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Bonnie and Clyde
(1967)

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The Mothman Prophecies
(2002)

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Cat on a Hot Tin Roof
(1984)

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Fahrenheit 451
(1966)

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Revolution OS
(2002)

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Wait Until Dark
(1967)

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Dark Passage
(1947)

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Strangers on a Train
(1951)

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Confidence
(2003)

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His Girl Friday
(1940)

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To Catch a Thief
(1955)

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One of the great Hitchcock romantic thrillers. Grace Kelly and Cary Grant....well, what more can I say. The theme of this film is very much rooted in the style and stardom of Ms. Kelly and Mr. Grant, but it still has the Hitchcock flair for suspense, excitement, and stunning photography. The location scenes with mountainside views of the French Riviera and the rooftop chase scenes shot entirely in-studio were both highlights for me.

Metropolis
(2001)

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A beautiful and complex animé set in a retro-future world, and based (very) loosely on the 1927 Fritz Lang film of the same name. Like many Japanese animated films this one has the destruction of the Earth weighing in the balance while 'ordinary' folks fight desperately to save all that is good and honorable in the world. There is an additional theme brought into play regarding the potential for sentience and emotion in a mechanical humanoid....but that aspect of the story is played closer to the themes of 'Blade Runner' than the original Fritz Lang vision.

The Hulk
(2003)

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Cowboy Bebop: The Movie
(2002)

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Roger & Me
(1989)

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The Brothers Quay Collection
(1984)

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Cowboy Bebop 1- 6
(1999)

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The Kid Stays in the Picture
(2002)

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Sexy Beast
(2001)

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Requiem for a Dream
(2000)

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8 1/2
(1963)

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28 Days Later
(2002)

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Lost in America
(1985)

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An American in Paris
(1951)

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Amélie
(2001)

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Rabbit-Proof Fence
(2002)

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South Park: Bigger, Longer and Uncut
(1999)

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The Wild One
(1953)

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Spider
(2003)

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Spirited Away
(2002)

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For All Mankind
(1989)

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A Mighty Wind
(2003)

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Princess Mononoke
(1997)

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The Bourne Identity
(2002)

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25th Hour
(2002)

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The Dream is Alive
(1985)

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Akira
(1988)

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Memento
(2000)

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